Review: Acis and Galatea (Opera Atelier)

Opening Opera Atelier’s fortieth season is Handel's Acis and Galatea—an English-language opera staged at the beautiful Elgin Theatre. With a campy love story, playful humor, and lots of dancing, this production, directed by Marshall Pynkoski, delivers the kind of accessible, vibrant production that Opera Atelier is known for.

Acis and Galatea, based on Ovid’s Metamorphoses, tells the love story between the water nymph Galatea and the Arcadian shepherd Acis. The first act highlights how deeply in love they are, weaving together funny, dramatic, and tender moments—including clever use of the onstage pillars, which they slide down or cling to in moments of emotional intensity. It all builds to the act’s final song, “Happy We,” where the joyful repetition of the lyrics underlines the couple’s bliss.

Act two opens with the phrase “No Joy Shall Last,” setting the stage for the arrival of the burly cyclops Polyphemus. Polyphemus falls for Galatea, but when she doesn’t return his affection, he takes his revenge by crushing Acis beneath a boulder. Galatea grieves her loss until Acis transforms into a beautiful fountain, at which point she celebrates his metamorphosis.

Throughout the opera, Damon, the spirit of the mountain, acts as a subtle and playful force, keeping the mood light. Programme notes compare him to Puck in A Midsummer Night’s Dream, a fitting comparison. Despite the sad twist in the story, the characters’ over-the-top emotions and romantic absurdity earned plenty of laughs from the audience.

The story is easy to follow, even for someone new to opera. This was the first English-language opera I have seen, and it gave me some more insight into the typical structure, themes, and vocabulary of the genre. Subtitles are provided to follow along as well.

This production introduced two visiting French tenors—Antonin Rondepierre as Acis and Blaise Rantoanina as Damon. Yet, the real show-stealer was Opera Atelier regular, Canadian Meghan Lindsay as Galatea. Her singing was absolutely stunning, and her stage presence flawless. Another familiar face, Douglas Williams, took on the role of the brawny Polyphemus. Though a smaller part, his performance stood out for both his powerful voice and comedic timing.

The production features choreography by Jeannette Lajeunesse-Zingg, performed by the full corps of the Artists of Atelier Ballet. I always appreciate when an opera incorporates plenty of dance, and this one delivers—especially in the first act. The choreography draws from historical dance styles, likely Baroque in inspiration, with symmetrical patterns, circular formations, and elegant partnering. The ensemble does more than just dance; they enrich the narrative, responding to the onstage action and set the tone for key moments. Unsurprisingly, the technique is spot on—most of the dancers have trained or performed with the National Ballet of Canada or its school.

There is less dancing in the second act, but I found myself captivated by the graceful yet powerful hand movements of conductor Christopher Bagan. You can feel his passion for the piece—a true artist at work.

Both the costumes and set were beautifully designed by Gerard Gauci. The costumes, especially for the ensemble, were vibrant and full of color, while Galatea’s flowing blue gown seemed to move with a life of its own. Though the set was more minimalist than I anticipated, every element felt intentional and well-utilized. I particularly enjoyed the set design of the horses and goats racing across the stage—it added a playful burst of energy to the production.

Opera Atelier continues to demonstrate its commitment to bringing both artistry and accessibility to opera. Acis and Galatea felt both familiar and fresh. It would be a great introduction to younger audiences to the form, as it's easy to follow. At just two hours with an intermission, it’s an ideal length.

Forty seasons is an incredible achievement — congratulations to Opera Atelier! I’m excited to see what comes next.

Acis and Galatea, presented by the Opera Atelier is playing at the Elgin Theatre (189 Yonge St, Toronto ON) until October 27th, 2024. Tickets range from $89- $265. Tickets can be purchased online here.

OperaAtelier.com | Socials: @operaatelier

• Photo One: Artists of Atelier Ballet with tenor Antonin Rondepierre as Acis and soprano Meghan Lindsay as Galatea in the finale of Opera Atelier's production of Handel's Acis and Galatea. Photo by Bruce Zinger.
• Photo Two: Soprano Meghan Lindsay as Galatea and tenor Antonin Rondepierre as Acis in Opera Atelier's production of Handel's Acis and Galatea. Photo by Bruce Zinger.
• Photo Three: Tenor Blaise Rantoanina as Damon in Opera Atelier's production of Handel's Acis and Galatea. Set and costume design, Gerard Gauci. Photo by Bruce Zinger.
  

Written by Deanne Kearney
DeanneKearney.com @deannekearney